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Scott’s use of thick paint arranged in areas that intersect like blocks signalled his allegiance to European painting as opposed to American. In the 1950s, European artists were seen to value the material of the paint itself while the work of the American Abstract Expressionists was characterised by its expansive scale. In fact, both shared some basic concerns and even retained a concern with subject matter. Scott used such still life objects as saucepans as a starting point. There are, however, often allusions to the human figure: here a pepper pot becomes distinctly phallic.

The artist told the compiler (28 May 1962) that this work was painted between January and June 1958, before he left for Venice where he was one of the British artists given a retrospective exhibition at that year's Biennale. The Tate painting was not ready in time to be included in the exhibition.

‘Ochre Painting’ is a development towards a more abstract interpretation of the series of still-life themes which recurs again and again in William Scott's pictures. The cooking utensils have become almost abstract shapes flattened out against the table-top which has itself been transformed into an organically shaped container.

Published in:Mary Chamot, Dennis Farr and Martin Butlin, The Modern British Paintings, Drawings and Sculpture, London 1964, II